Abraham Lincoln is one of the most popular political figures of all time and many men have adopted a general appearance similar to their model, since his inauguration in 1861 and even more so after the 1865 attack.

When looking for Lincoln portraits, many collectors meet look-alikes.

Abraham Lincoln is one of the most popular political figures of all time and many men have adopted a general appearance similar to their model, since his inauguration in 1861 and even more so after the 1865 attack.

When looking for Lincoln portraits, many collectors meet look-alikes.

Lincoln bearded look-alikes are numerous. They are all posterior to 1861, as Lincoln grew his beard for the first time in his life after his election and on the way to his inauguration.

Collectors have searched also for beardless Lincoln portraits, meaning pre-1860. Only two beardless look-alikes have been publicly suggested in a century ofavid investigation.

Application
FIERA DI SENIGALLIA
Italian new international fair
dedicated to the history of photography

We would like to kindly give you details about the application for Senigallia photo fair of May 2019.

If your gallery or institution would like to join the very first venue of that fair dedicated to the first 150 years of photography 1839-1989, please apply within the deadline of March 31st, 2019 by sending us an email to sc@biennaledisenigallia.it

With a run during the first week of may, Fiera di Senigallia ensures to attract important and modest collectors, curators and enthusiasts from around the world to attend our prelude edition.

We will be available to field your questions and providing advice regarding all artistic and curatorial aspects of your respective proposals and booth layouts.

At our 1st edition in 2019, we are excited to host only vintage works in a 15th century historical Palazzetto. Additionally, we will also present a special exhibition featuring the early prints of Senigallia photographers Mario Giacomelli, Giuseppe Cavalli and Ferrucio Ferroni, all sourced in the artits’ families archives. Michael Nyman will present his film War Work at Teatro Fenice in two evening concerts on 1st and 2nd May.

The fair aims to provide its visitors and collectors with the ultimate chance to access to only vintage material, all in luxe, calme and volupté.

A separate contemporary section will host artists and galleries with contemporary initiatives to preserve the legacy of the first 150 years, on the saturday 4th May.

Please get in touch with us at application@biennaledisenigallia.it We are more than happy to assist you with the entire application process, including shipping, Italian customs, gastronomy, swimming, boating and lodging.

The Van Gogh Museum, Amsterdam, just published the result of a several-years long thought about photographic portraits of the Van Gogh brothers.

Above: The portrait on the left is now accepted by all authorities as a portrait of young Theo van Gogh.

A direct witness of the van Gogh brothers different physionomies is certainly Johanna Bunger who described her brother in law after his return from Arles:

“Vincent returned from the South on May 17, 1890. First he was going to spend a few days with us in Paris…I had expected a sick man, but here was a sturdy, broad-shouldered man, with a healthy colour, a smile on his face, and a very resolute appearance; of all the self-portraits, the one before the easel is most like him at that period. Apparently there had again come the sudden puzzling change in his condition that the Reverend Mr. Salles had already observed to his great surprise at Arles. — He seems perfectly well; he looks much stronger than Theo — was my first thought…”. (Johannah Van Gogh-Bonger, december 1913).

During one complete year, from the Prelude till the actual Biennale, May 2019 till May 2020, the general public and visitors will be invited to vote online in order to decide a theme for the next Biennale between a dozen of proposals, exemples :

– Photography and Science: from the infinitely large till the infinitely small, astronomy.

– Photography and Pleasure, eroticism, gastronomy, Pavlov.

– Photography and Philosophy, in the service of Morality and religion, images can provoke feelings of compassion.

– Photography in the service of Political power or struggle, propaganda, censor, manipulation of emotions, satirical photographs.

– Photography and the Transmission of knowledge, a vaccine against the ravages of conspiracy), photography in the service of curiosity and critical thinking.

– Photography at the service of the Individual, photography within families, carte-de-visite, selfies.

– Photography and War, photographers in the war, registration of war history.

– Photography and the Art Market, history of Art, fakes, documentation, investigations, archeology.

– Photography and Fashion, advertising photographs.

The Senigallia railroad station has been situated since 1861 in front of the medieval palace, Rocca Roveresca, which is 250 meters from the beach and from the Biennale. Partner hotels can be reached by foot.

There are direct trains from Milan, Venice, Bologna and Munich. There are twenty trains each day to Bologna and two to Rome. Bologna has year round air service to most European capitals, and seasonally (Summer) to Philadelphia.

In addition, Situated half way between Senigallia and Ancona (16 and 12 kms), Marche Airport has daily flights from Munich (Lufthansa), Charleroi (Ryanair) and London Stansted (Ryanair). Information for exhibitors, dealers and visitors : SCBS srl

“Samuel Bourne was a British photographer who spent seven extremely productive years in India, and by the time he returned to England in January 1871, he had made approximately 2,200 fine images of the landscape and architecture of India and the Himalayas. Working primarily with a 10×12 inch plate camera, and using the complicated and laborious Wet Plate Collodion process, the impressive body of work he produced was always of superb technical quality and often of artistic brilliance.[citation needed] His ability to create superb photographs whilst travelling in the remotest areas of the Himalayas… with a retinue of some 30 porters to carry his equipment, and working under the most exacting physical conditions, places him firmly amongst the very finest of nineteenth century travel photographers.” (Wikipedia).

IIM Lucknow main campus spans 200 acres (81 ha) and is in Prabandh Nagar on the outskirts of Lucknow, Uttar Pradesh, India. It is at 21 kilometres from Lucknow railway station and 31 kilometres from Lucknow Airport. IIM Lucknow also has a city office at Aliganj.

The academic buildings are constructed in medieval Indian architectural style with red brick wall texture.

As a part of student exchange programs, students spend a three-month term in a foreign university in October to December in their second year. Every year around 50 students of IIM Lucknow are selected for the exchange programs based on merit, while around 30 foreign students come to IIM Lucknow, for example from EM Lyon, as the curator of the present Bourne exhibition, Adrienne Plantureux.

Good Old Days Story of a Recent Paris Auction : Gustave Le Gray’s Photographic Expedition along the Nile (illustration: lot 34)

« La Gazette Drouot » is the weekly publication dedicated to auction activity at Paris Drouot, with some interesting general articles as well. Online subscribers get the issues on Thursday evening, one day before the distribution of paper numbers. That’s how on Thursday late afternoon 27 September 2018 spread the buzz in the passionate community of Le Gray afficionados : a treasure had been found, a full page anouncement reproduced 4 of the 71 Egypt albumen prints by Le Gray. The auction would be organized on November 14, after Paris Photo week, in Drouot, salle 6, the auction house being Delon-Hoebanx – Who are they ? The expert Mario Mordente – Who is he ?

“What intelligent being, what being capable of responding emotionally to a beautiful sight, can look at the jagged, silvery lunar crescent trembling in the azure sky, even through the weakest of telescopes, and not be struck by it in an intensely pleasurable way, not feel cut off from everyday life here on earth and transported toward that first stop on the celestial journeys?…” (Camille Flammarion).

Baron Alexander von Minutoli (1806-1887) was the creator of one of the very first decorative arts museums in Europe, the first of the nineteenth century, a precursor of the Victoria and Albert Museum in London and the Musée des Arts Décoratifs in Paris, and made extensive use of photography to spread taste and knowledge.

In 1839, the same year that photography was invented, the Prussian ministry sent him to Liegnitz (now Legnica, Poland) to develop local crafts in a period of economic crisis. Having inherited from his father a passion for art history and collecting, Minutoli had brought back many decorative art objects from his travels. In order to stimulate industry by example and restore the lost unity of art and crafts, he created a new kind of museum; no art museum or curiosity cabinet, but a collection of models of the best in decorative arts since antiquity, organized by materials and periods. In 1845, the King of Prussia granted him the use of about ten rooms in Liegnitz Castle to display the objects.

Minutoli wanted to address a national, even international audience. He therefore developed a system for lending the original works and antiques to Prussian schools of applied arts. This caused some damage. Minutoli then imagined a loan of watercolours; then, of daguerreotypes (the photographer Louis Birk produced a few dozen plates for him). The Crystal Palace Exhibition, held in London in 1851, gave him the opportunity to present them to the world.

But these were fragile, and as soon as the collodion process was invented, Minutoli took up this major innovation. In 1853, he hired a 23-year-old young man from Liegnitz’s school of applied arts, Ludwig Belitski.

Using an ingenious splash system and a 9-foot (2.74-metre) Dollond telescope, Minutoli and Belitski made up a corpus of more than 150 photographs on salted paper.

Presented at the 1855 Paris Universal Exhibition, it opened with a lithographed title page: “Models for craftsmen and manufacturers from the collection of the Minutoli Institute for the Improvement of Trade and the Promotion of the Arts in Liegnitz”.

Otto Wegener was born in the southern Swedish town of Helsingborgs in 1849. The Swedish photographer Hanna Forthmeijer (1827-1914) established the city’s first permanent studio in Otto’s parents’ home in the mid-1860s. (Cf. a local advertisement for this first studio of Helsingborgs published in 1867, the same year the young man left for Paris reproduced in Helsingborgs stadslexikon).

Because he had joined the Commune under the Garde Nationale uniform, Otto went in exile to London where his three sons were born]. He came back after 1875.

Nothing is known about his introduction to photography; all we know is that he opened his magnificient studio at the fashionable address 3, Place de la Madeleine in 1883, successfully competing with Nadar and Reutlinger for the elite audience.

Marcel Proust frequented Otto’s studio.

He also brought his favourite ladies from the nobility to Otto’s studio. Celebrated as the supreme beauty of her day, Countess Elisabeth Greffulhe (1860-1952) was the triumph of Parisian society when Marcel Proust made her acquaintance in 1892.

Proust pursued her with requests for a photograph, which she staunchly refused. Nonetheless, the countess would inspire Proust’s fiction, becoming a prototype for the glamorous Duchesse de Guermantes in A la recherche du temps perd (1913-27).

Wegener had then already simplified his name to OTTO, a signature that shined in gold above the sixth floor on the building. He maintained contacts with the Swedish colony of artists and the writer August Strindberg dined in his house in 1894. The writers Bjørnstjerne Bjørnson and Victoria Benedictsson as well as the painter Albert Edelfelt are among the Scandinavians who had their photographs taken by Otto.

The Copernican Revolution was the paradigm shift from the Ptolemaic model of the heavens, formulated by Nicolaus Copernic some time before 1514 and refined until the publishing of De Revolutionibus Orbium Coelestium in 1543.

Fifteen scores later, the Daguerreian Revolution was the paradigm shift from the classical representation of Nature and Human faces, formulated by Niépce some time before 1827 and refined by several gentlemen until the public announcement of 19 August 1839.

When the first photographic processes were invented and developped by Niépce and his followers in Europe, the photographic portrait was really born in America circa 1840. Robert Cornelius in Philadelphia and John Draper are the central figures.

We will present 17 early daguerrian portraits and an armil during Zonamaco Foto on stand B-316.

If you are in Mexico on Friday afternoon, do not hesitate to join the presentation on some famous daguerreotypes :